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Choosing a typeface for any design project can be stressful. Some designers default to using the same handful of fonts they’re comfortable with for every project. Others spend hours trying to figure out the right typeface for the job without ever really feeling confident in their final choice. Not surprising considering there are more than half a million fonts in existence.
çhoosing任何设计项目中的字体可以很紧张。 一些设计师默认为每个项目使用他们愿意使用的少数几种字体。 其他人则花费数小时试图找出适合该工作的字体，而对最终选择却从未真正充满信心。 考虑到存在超过一百万种字体 ，这不足为奇。
The right typeface can make a design, while the wrong one can definitely break it. Experimentation and practice are both important to mastering typeface selection. But there are a few things designers can keep in mind to make typeface selection easier and more focused.
正确的字体可以进行设计，而错误的字体则可以破坏设计。 实验和实践对于掌握字体选择都很重要。 但是，设计师可以记住一些要点，以使字体选择更加容易和集中。
范围 (Scope)
The scope of the project or projects in which a font will be used is one of the first things designers should consider when choosing a typeface. A font that will only be used for a limited scope, such as a slide deck, will need to be less flexible than one that will be used across a brand’s entire visual presence.
设计人员在选择字体时应考虑的第一件事之一就是使用字体的项目范围 。 仅在有限范围内使用的字体(例如滑盖)将比在品牌的整个视觉效果中使用的字体具有较低的灵活性。
Designers should think through whether the typeface will be used only for digital projects or also in print. They should also think about whether the fonts will be used for a limited time or indefinitely. It can be helpful to make a list of all the potential projects a typeface will be used for at the outset of choosing a new font.
设计师应该考虑字体是仅用于数字项目还是用于印刷。 他们还应该考虑字体是在有限时间内使用还是无限期使用。 在选择新字体时，列出字体将用于的所有潜在项目可能会有所帮助。
心情 (Mood)
Every project has a mood. Whether that mood is formal or informal, fun or serious, modern or classic, or something else entirely. And like every project, every typeface has a mood.
每个项目都有心情。 那种心情是正式的还是非正式的，有趣的还是严肃的，现代的还是经典的，或者完全是其他的。 就像每个项目一样，每种字体都有一种情绪。
It’s important for designers to consider the mood of the project and how the typefaces they’re considering reinforce or clash with that mood. For example, using Comic Sans on a website for a law firm would clash. Something like Crimson Text or Helvetica would work much better.
对于设计师来说，重要的是要考虑项目的气氛以及他们正在考虑的字体如何增强或冲突这种气氛。 例如，在一家律师事务所的网站上使用Comic Sans会发生冲突。 像Crimson Text或Helvetica之类的东西效果会更好。
功能性 (Functionality)
Not every typeface looks good at every weight and size. Display fonts that look amazing in larger sizes can become illegible at smaller sizes. Typefaces that look great at small sizes in body text can sometimes look too plain or even boring when used at display sizes.
并非每种字体在每种重量和尺寸下都看起来不错。 大尺寸的显示字体在小尺寸时变得难以辨认。 如果在显示尺寸下使用，在正文中以小尺寸显示的字体看起来有时会显得太平淡甚至无聊。
Some typefaces can look good at virtually any size, though. Designers should test fonts they’re considering at each size they may use those fonts to be sure they’re readable and don’t negatively impact UX.
不过，有些字体实际上可以在任何大小上看起来都不错。 设计师应该测试他们考虑使用的每种字体的字体，他们可以使用这些字体以确保它们可读性并且不会对UX产生负面影响。
多功能性 (Versatility)
Fonts that are perfect for use on the web might not translate well to use in print, and vice versa. Fonts like Georgia that were designed specifically for readability on low-resolution screens aren’t as well-suited to print work as a font like Book Antiqua might be.
完美适合在网络上使用的字体可能无法很好地翻译成印刷品，反之亦然。 像格鲁吉亚这样的字体是专为在低分辨率屏幕上的可读性而设计的，不如Book Antiqua这样的字体适合打印作业。
If a font will only be used for a single project, then it’s easy to determine whether print or screen functionality is most important. But for fonts that might be used over multiple projects, designers should make sure the font will work in every medium in which it may be used.
如果字体仅用于单个项目，则很容易确定打印功能或屏幕功能是最重要的。 但是对于可能在多个项目中使用的字体，设计人员应确保该字体在可以使用该字体的每种介质中都可以使用。
信息 (Message)
The message of the project-whether it’s a slide deck or a brand’s visual identity-is vital to determining the best font to use. If the message is serious, the font should also be serious, and vice versa.
该项目的信息(无论是幻灯片还是品牌的视觉形象)对于确定要使用的最佳字体至关重要。 如果消息很严重，字体也应该很严重，反之亦然。
The wrong font can completely derail the message a brand is trying to send. For example, using something modern like Open Sans on a design for a historical society website doesn’t really reinforce the message. A font like Crimson Text would work much better.
错误的字体可能会完全破坏品牌试图发送的消息。 例如，在历史社会网站的设计中使用像Open Sans这样的现代内容并不能真正增强信息的准确性。 像深红文本这样的字体会更好。
可读性 (Readability)
Readability is arguably the most important feature of a typeface. Since type is used to communicate a message, if that message can’t be read, the typeface has failed its job.
可读性可以说是字体的最重要特征。 由于使用type来传达消息，因此如果无法读取该消息，则表明字体工作失败。
Readability and legibility aren’t exactly the same. Legibility refers to how easy it is to distinguish letterforms within a font. Readability takes that one step further and refers to how easily different words can be distinguished and read.
可读性和可读性并不完全相同。 易读性是指区分字体中的字母形式有多容易。 可读性又向前迈进了一步，指的是区分和阅读不同单词的难易程度。
Readability and legibility can both be impacted dramatically by the size of the font being used. A font that looks great at 18 pixels might be illegible at 10 pixels. That’s not necessarily a deal-breaker unless the designer knows the font will need to be used at smaller sizes.
所用字体的大小会极大地影响可读性和可读性。 看起来不错的18像素字体可能无法识别10像素。 除非设计者知道字体需要以较小的尺寸使用，否则这不一定会破坏交易。
语言能力 (Languages)
Not every website or design project will be translated into multiple languages. But it’s a good idea to determine at the start of a project whether translation is likely. Not all typefaces support special characters (like those that are accented), let alone alphabets like Cyrillic and Greek.
并非每个网站或设计项目都会被翻译成多种语言。 但是在项目开始时确定是否可能进行翻译是一个好主意。 并非所有字体都支持特殊字符(如带重音符号的字符)，更不用说西里尔字母和希腊字母了。
In almost all projects, it’s important for the typeface being used to at least support extended Latin characters, like accents and umlauts. Not being able to spell words or names because accents aren’t supported can make a project look unprofessional at best.
在几乎所有项目中，重要的是，字体必须至少用于支持扩展的拉丁字符，例如重音符号和变音符号。 由于不支持重音而无法拼写单词或名称，这可能会使项目看起来不专业。
样式 (Style)
There are four basic fonts styles: serif, sans serif, display, and script. Serif fonts are often viewed as more traditional and formal (though not all are). Sans serif typefaces can be seen as more modern and minimalist. Display fonts are unsuitable for use at small sizes, but their appearance varies widely. Script fonts resemble handwriting or calligraphy. Both script and display fonts are used primarily for short blocks of text or things like headlines and titles.
有四种基本字体样式：衬线，无衬线，显示和脚本。 衬线字体通常被视为更传统和更正式(尽管不是全部)。 无衬线字体可以看作是更现代，更简约的字体。 显示字体不适合小尺寸使用，但是它们的外观差异很大。 脚本字体类似于手写或书法。 脚本字体和显示字体都主要用于简短的文本块或标题和标题之类的东西。
For readability, serif fonts were once viewed as more reader-friendly in print, while sans serif fonts as more reader-friendly on screen. But most modern typefaces in both styles can work well in either medium, especially with advances in screen resolutions.
为了提高可读性，衬线字体曾经在印刷中被视为对读者更友好，而无衬线字体在屏幕上被视为对读者更友好。 但是，两种风格的大多数现代字体都可以在任何一种媒体上很好地工作 ，尤其是随着屏幕分辨率的提高。
Designers should consider whether they want to use display or script fonts for their headlines and titles, and decide whether serif or sans serif typefaces better suit their message and the project’s brand. Deciding this narrows down the font choices for a designer, which can make settling on a final selection easier.
设计师应考虑是否要在其标题和标题中使用显示字体或脚本字体，并确定衬线或无衬线字体更适合其信息和项目品牌。 这样做可以缩小设计师的字体选择范围，从而使最终选择更加容易。
牌 (Brand)
Every brand has a mood and a message. It’s important that all visual elements-not just typefaces-match and support the impression the brand wants to give to the public.
每个品牌都有自己的心情和信息。 重要的是，所有视觉元素(不仅是字体)都应匹配并支持该品牌想要给公众的印象。
Narrowing down typeface choices based on brand suitability can start with making a list of keywords that represent the brand. From there, designers can search for fonts that include those keywords or synonyms.
根据品牌适用性来缩小字体选择范围可以从创建代表品牌的关键字列表开始。 从那里，设计人员可以搜索包含那些关键字或同义词的字体。
For example, if a brand is formal and traditional, a font like Garamond or Caslon would be a good fit. If a brand is modern and cutting edge, the designer might choose something like Roboto or Raleway.
例如，如果一个品牌是正式的和传统的，那么Garamond或Caslon之类的字体将是一个很好的选择。 如果一个品牌是现代的和前沿的，设计师可能会选择诸如Roboto或Raleway之类的东西。
发牌 (Licensing)
While many fonts have general licenses that allow for use in virtually any situation, others do not. Some licenses only allow for use in one medium or another. Others allow for use in promotional materials but might now allow for use on a product being sold.
尽管许多字体都具有允许在几乎任何情况下使用的通用许可证，但其他字体则不允许。 一些许可证仅允许在一种或另一种介质中使用。 其他允许在促销材料中使用，但现在可能允许在正在销售的产品上使用。
Another consideration is that if multiple designers are working on a single project, they might each need a licensed version of the font. Designers should be sure they understand the licensing of any fonts they’re considering using and what limitations those licenses might impose.
另一个要考虑的是，如果多个设计师在一个项目上工作，则他们每个人都可能需要许可版本的字体。 设计师应确保他们了解他们正在考虑使用的任何字体的许可以及这些许可可能施加的限制。
组合方式 (Combinations)
Not all fonts play well with others. Some typefaces are neutral enough that they can be paired with hundreds of other fonts. But others have such unique character that suitable combinations are limited.
并非所有字体都能与其他字体很好地配合。 某些字体足够中性，可以与数百种其他字体配对。 但是其他人具有如此独特的特征，以至于适当的组合受到限制。
There are advantages to both. Limited combinations can make finding a suitable one faster, since designers might only have a dozen to choose from. But having wider options can offer up more flexibility on future projects. Choosing font combinations is both an art and a science and takes a fair amount of experimentation and practice for designers to master.
两者都有优点。 有限的组合可以更快地找到合适的组合，因为设计师可能只有十几种可供选择。 但是拥有更多选择可以为将来的项目提供更大的灵活性。 选择字体组合既是一门艺术，也是一门科学，需要设计师进行大量的实验和实践。
大字体家族 (Large Font Families)
Large font families, such as Roboto or Baskerville, that have multiple weights and styles can make it easier for designers to create complex typographic designs without the stress of figuring out which typefaces work well together. Some large font families even include both serif and sans serif versions, which offers even more flexibility to the designer.
具有多个权重和样式的大型字体家族(例如Roboto或Baskerville)可以使设计人员更轻松地创建复杂的字体设计，而无需弄清楚哪些字体可以很好地协同工作。 一些较大的字体家族甚至包括衬线和无衬线版本，这为设计人员提供了更大的灵活性。
On long-term projects like a brand’s visual identity, larger font families also offer more versatility. Being able to switch between multiple weights or styles based on the exact project needs offers designers more flexibility without having to deviate from the brand’s established identity.
在诸如品牌视觉形象的长期项目中，较大的字体家族也提供了更多的多功能性。 能够根据确切的项目需求在多个权重或样式之间切换，从而为设计师提供了更大的灵活性，而不必偏离品牌的既定身份。
如何选择正确的字体 (How To Choose the Right Typeface)
Keeping these tips in mind for any design project can make choosing a typeface a much smoother process. Designers who want to refine their type selection skills can work on practice projects, such as choosing a new typeface for a well-known brand or a fictional project. Then, when faced with real-world projects, they’ll be more confident in their skills and choices.
在任何设计项目中牢记这些技巧可以使字体的选择过程更加顺畅。 希望提高选型技巧的设计师可以从事实践项目，例如为知名品牌或虚构项目选择新字体。 然后，当面对现实世界的项目时，他们将对自己的技能和选择更有信心。
A thorough grasp of what each project entails allows designers to better understand which typeface will best suit those needs. Once the scope of the project has been defined, the other considerations-such as mood, versatility, message, and brand-can guide designers toward the best font choices. Other considerations like readability, functionality, and language support can help designers further refine those choices to find the perfect font for their design work.
透彻了解每个项目的含义，可使设计人员更好地了解哪种字体最适合这些需求。 一旦确定了项目范围，其他考虑因素(例如情绪，多功能性，信息和品牌)便可以指导设计师选择最佳字体。 可读性，功能和语言支持等其他考虑因素也可以帮助设计师进一步优化这些选择，以找到适合其设计工作的理想字体。
Originally published at https://www.toptal.com
最初发布在 https://www.toptal.com
翻译自: https://uxdesign.cc/tips-when-choosing-a-typeface-with-infographic-d8a85a999f1
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